Painting Beyond Pollock is a captivating account of the history of European and American painting from the mid‐20th century onwards. Art historian and critic Morgan Falconer presents an extensively researched piece of writing that explains why painting has surged in popularity since Jackson Pollock and the Abstract Expressionists began painting in the late 1940s–early 1950s. Drawing on both original sources and contemporary scholarship, this bold and richly designed book lavishly illustrates the most important works made beginning in the Post War era. In addition to well‐known artists such as Willem de Kooning, Agnes Martin, Alex Katz, Ellsworth Kelly, Marlene Dumas, Gerhard Richter and Brice Marden, Falconer explores the work of contemporary stars such as Cecily Brown, Mark Grotjahn, Elizabeth Peyton, John Currin, Neo Rauch and Mark Bradford as well as up‐and‐coming artists such as Blink Palermo and Sigmar Polke. Topics include: Things must be pulverized – Abstract Expressionism Wounded Painting – Informel in Europe and Beyond Against Gesture – Geometric Abstraction Witnesses – Post‐war Figurative Painting Anti&hyephn;Tradition – Pop Painting Post&hypen;Painting Part I – After Pollock A transcendental, high art – Neo‐Expressionism and its Discontents Post‐Painting Part II – After Pop New Figuration – Pop Romantics

A clever, charmingly quirky portrayal of painter Jackson Pollock – and the first in a series of picture-book biographies of contemporary artists Jackson Pollock was unlike any other painter. Instead of sitting in front of an easel with brushes, he poured paint over canvases rolled-out across the floor, moving, splashing, and making the vivid liquid run with energy and rhythm. Pollock’s story is told here with wit and eccentricity, perfectly paired with black-line illustrations – and splatters galore. Fausto Gilberti brings movement, life, and whimsy to the true life story of one of the most important contemporary artists of our time.

Organize your space in the best way to achieve therapeutic significance. "The good enough studio"-derived from D.W. Winnicott's notion of the good enough mother-serves as a safe space where clients, students, and artists find modes of expression and being that unveil their own authenticity and connection to the archaic creativity of humanity. As a global art therapist and educator, Nona Orbach facilitates this profound alchemy of self-transformation by attending to the nonverbal, intuitive choreography that each individual uses in order to create. In Orbach's groundbreaking therapeutic model, the consciously organized studio is a place of acceptance where actions, materials, and the space itself "speak" and guide discovery.In this book readers will learn how to: Organize an open-studio setting Create an environment of acceptance and choice that facilitates transformation Understand action-material relationships as emotional and pedagogical communication Discern and mirror each individual's creative blueprint The insights of The Good Enough Studio will cultivate the work of those interested in the phenomenology of materials: artists, educators, therapists, and parents, as well as the nonprofessional and curious reader. Through guidance and case studies, Orbach shows how the creator's poetic truth can lead to integration and well-being. Nona Orbach is a multidisciplinary artist, therapist, blogger, lecturer, and facilitator of workshops for art therapists in Israel and around the world. Her artwork engages with archeological and historical contexts and is compiled under the title Tel-Nona. As an excavator in the Tel (mound) and preserver of the artifacts in a blog/virtual library, Nona metaphorically revives the great Alexandrian library that burnt down with its million scrolls in the first century BCE. Tel-Nona preserves its spirit of sharing knowledge in an international humanistic project. She also leads a social movement to change the Israeli education system through the learning and understanding afforded by the studio and the language of materials. Her online learning community includes over 7,000 participants from the fields of education and therapy. She has created an English blog and a study group with the title of this book to circulate her ideas internationally. Her previous book, The Spirit of Matter, co-authored with Lilach Gelkin, has been an immensely useful tool for therapists and educators for many years. Published in Israel in 1977, the PDF English version of the book is sold on her website.

Published to accompany the exhibition Jackson Pollock held the Museum of Modern Art, New York, from 1 November 1998 to 2 February 1999.

I am indebted first to Thomas B. Hess and James Fitzsimmons, the editors of Artnews and Art International, who encouraged me to publish the essays and reviews that led, years later, to this book. I am equally grateful for the encouragement I have received from Elizabeth C. Baker, the editor of Art in America.

A new look at the dynamic relationship between performance and painting since 1950, showing how performance art has challenged and energised the medium of painting for successive generations